Going into the unknown in science and art

We understand joint improvisation as an artistic form involving two or more performers engaging in multiple real-time interactions: with each other, with the audience and with the emerging content.

Experiments on joint action have given us insights into the mechanisms that allow people to coordinate theiractions with each other, be it making music, dancing, or cooking a dish together. One key

Joint actions require an ability to understand and predict the actions of others far enough into the future to have time to plan and execute matching motor programs. Here I will review experiments in

How are neural, behavioral and social scales coordinated in real time so as to make possible the emergenceof social cognition? Answering this question requires to study the dynamics of coordination in

“Improvising together” Debate

We studied coordination and movement kinematics in a mirror game. 32 participants (18 f, 14 m; mean age 25.2 years, range 19–37) performed circle­drawing and freely improvised hand movement mirroring

Improvising music toghether involves coping in realtimewith unprecedented patterns of behavior of another. The goal is to achieve and share a meaningful coperformance,and this is done by interacting

"I have been a practitioner of soloandjointimprovisationin music and dance for a while. And I have alwayswondered what the main differences were between the two. What I am particularly interested in

Carrying the Feeling explores autistic Lucy Blackman’s use of “carrying” as an expressive force in herwriting. Continuing to delve into what I have called autistic perception theforce of perception

Joint actions require an ability to understand and predict the actions of others far enough into the future to have time to plan and execute matching motor programs. Here I will review experiments in

Even the most tightly scripted solo performances involve improvisation; the detailed execution of each note or word cannot be completely determined in advance. In joint performances the challenge of

To what extent do collaborating improvisers understand what they are doing in the same way as each other?And to what extent do their listeners understand the improvisation in the same way as the